Whether these theories are believable or not, “Room 237” is still a fascinating exploration of how films and art can be meticulously examined, even if there is a tinge of delusion to the motivation.

H.P. Lovecraft is not merely rolling over in his grave.  He is actively seeking a way to haunt Brett Piper and company to make sure they never again molest the author’s name.

“Jacob” has so many faults that to forgive them all on the basis of the film being a low budget indie production would be disrespectful to films that deliver so much more on a similar scale.

“Expiration” occupies a middle ground in suspense and horror, though it leans further into the positive than into the negative ... It is not a fast-paced zombie horror film.  It is a small and condensed drama centered on panicked people grasping for a handle on their predicament.

“Berberian Sound Studio” crafts a house of cards undone not by the weight of one more spade, but by a willful swipe of an arm.

The premise that makes the movie appealing is delivered in underwhelming portions.  And anyone hungry for extraterrestrial chills will leave “Unaware” still starving.  Unless the adrenaline shot needed to recover from the boredom qualifies as nourishment.

By the time nooses are fitted to tree branches, a terror-eager audience will have already tuned out from the slow build melodrama.  The filmmakers had a unique frame for generating a “found footage” movie, but “Hollow” is not the most appealing story to plug into that model.

There are more notable invasion films available, but they are released far enough apart that there is still a place for the PG-13 chills of “Dark Skies.”  It moves at a deliberate pace, as this is a movie for those who prefer the subtly tingling terror of feeling unsafe from an unknown threat, even in one’s own home.

“Nobody Gets Out Alive” does not feel like it is honoring classic slashers as much as it feels like it is adding to their diminished reputation.

It is inspiring to see the Slender Man fan community band together for the project, and that passion transfers into the worthwhile intentions of the filmmakers, but the final film has a bundle of issues that regrettably earn it a thumbs down.

Without a concrete hero or a concrete villain, there is no satisfaction in seeing anything in particular take place. There can be no suspense when there is no investment in any specific outcome.

With any luck, “Infected” will make the list of worst movies when the year comes to an end.  Because the thought that 10 worse movies await that could displace this one is truly depressing.

“Crush” is disappointing, but not for lack of trying. While well staged, well cast, and well photographed, it is entirely unbelievable.

There are worse low-budget amateur horror films out there, but that is neither an endorsement nor a compliment.

 “13 Eerie” springboards off an interesting premise that could have made for a unique zombie film.  Instead, it turns that premise into an excuse to put college kids and reanimated corpses in a setting for routine undead fare.

While “Lost Coast” maintains intrigue despite riding on two wheels around a few bends, that intrigue does not translate into authentic terror.

Between “Reel Evil” and “616: Paranormal Incident,” if you see only one “found footage” haunted asylum movie shot in Linda Vista Hospital, make it neither.

There are rough edges and some predictability, but “Curandero” still makes for an interesting entry in the realm of exorcist-centric films.  If nothing else, its mark is made by the Spanish-specific elements.

“The Frankenstein Theory” takes an original premise and douses it in an unoriginal presentation. Which is not to say that the mockumentary does not do it well.

“John Dies at the End” is such a psychotropic joyride through horrifyingly imaginative ideas about time, space, and multidimensional alien takeovers that describing it in the limited terms available on this Earth does it a disservice.